They Make Music http://www.theymakemusic.com Interviews with your favorite musicians, DJs, and producers. Fri, 07 Mar 2014 01:41:00 +0000 en-US hourly 1 https://wordpress.org/?v=4.4 Proviant Audio http://www.theymakemusic.com/interviews/proviant-audio/ Mon, 27 Jan 2014 03:27:28 +0000 http://www.theymakemusic.com/?p=290

Who are you and what do you do? How long have you been a working musician?

Mathias Stubø, producer and DJ. I’ve been living off my music since I graduated high school in 2011.

What hardware are you using?

MPC2500 SE I have an MPC 2500 that I use a lot for drums and chopping, so it's the heart of my setup. I also use different samplers and drum machines, but I really like that MPC sound. Korg Mono/Poly I have a Korg mono/poly that I bought lately, and it’s a beast. I thought I was gonna use it mostly for basslines and some leads, but found out it could do much much more. Roland SP-303 This machine is ace. I use it to get lo-fi sound which is good for kicks and snares/claps and makes more room in the mix. It also has some effects I use a lot. I usually plug it from my synths and use the reverb, delay or the legendary vinyl simulator compression thing. Numark NS7 w/ flightcase Had this since 07. It’s making it easier to do DJ-stuff with certain parts of a mix fast when I have an idea. I don’t have to burn a CD first to do that. Korg MS2000 I like MS2000. I use it a lot for leads, effects and other bright parts of the mix, it’s easy to program and I always bring it on stage for the live shows. Dynacord Echocord Super 76 Nice tape delay and reverb. I use it sometimes on snare drums and guitars or stuff that’s maybe a bit too edgy and needs warmth. :motu896: sound card I’m a big MOTU fan. Had this since forever and it’s still my top choice for my kind of sound. For monitors, I’m currently using ADAM A7X.

What software are you using?

Logic I use Logic as my main sequencer. I like the way it looks and it sounds good. Reason When I started using computers, Reason was my first software. It’s genius, especially in rewire with Logic. The synths can do anything when you learn to use them and it has some very good reverbs, delays and compressors. Ableton Live is my main live tool when I’m doing laptop based shows. Can’t see any software outbeating Ableton for live stuff. It’s stable and the setup makes it easy to improvise. In the studio I use it in rewire with Logic (and Reason) if I need to do some more complex audio editing, and it’s also easy to chop up samples MPC style. Arturia Jupiter, Minimoog, Arp2600, Prophet Loving all of these soft synth versions of the great classics from Arturia. Use them for all kinds of stuff. Waves Waves is king for software compressors. Api 2500, SSL comp, H-comp, and CLA comp are my favorites. Native Instruments Kontakt 3 Great software sampler. My fav when I’m not on the MPC. Lexicon reverbs

What would be your dream setup?

A pitch shifter plugin that sounds impeccable.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I usually start out with some sort of drums or percussion to get it going. After that, it’s basically trying to found out the chords and harmonies of the song. When that’s figured out, I add layer for layer with stuff to back up the chords, like synth hooks, lines, small samples, whatever nice I can fit into the chords. I think my approach to producing is sort of like painting. I have a clear visual sight in my head of what’s coming out of the speakers. I usually mix the track as I’m producing it, because a lot of my stuff is really depending on how it sounds sonically, not just the song itself. That way it’s always easier to hear what’s needed also. The last part for me is always about cutting away stuff that doesn’t need to be there, and also adding effects and stuff to follow the dynamics of the track even more.

Where do you shop for and discover music?

Everywhere. I go record shopping or crate digging for vinyl, or sit on YouTube a whole night through looking for funk tunes. I dig wherever I can.

Any highlights from your latest musical discoveries?

Lots of different 60’s and 70’s folk rock and psych that I’ve been hipped to recently. Love it.

Any production tips & tricks you'd like to share?

Use your ears. Mixing is about levels. I want to find the level, position and intention of each track before I add too much effects to them. I switch master level back and forth a lot, trying to mix loud for a moment, then the opposite. That helps a lot. The key thing is to balance what’s more and what’s less important in a mix. What you want to stick out and what doesn’t need to be heard precisely. In my way of mixing, nothing should be struggling for attention. What's important is that the key message or intention of the song is intact.]]>

Who are you and what do you do? How long have you been a working musician?

Mathias Stubø, producer and DJ. I’ve been living off my music since I graduated high school in 2011.

What hardware are you using?

MPC2500 SE I have an MPC 2500 that I use a lot for drums and chopping, so it's the heart of my setup. I also use different samplers and drum machines, but I really like that MPC sound. Korg Mono/Poly I have a Korg mono/poly that I bought lately, and it’s a beast. I thought I was gonna use it mostly for basslines and some leads, but found out it could do much much more. Roland SP-303 This machine is ace. I use it to get lo-fi sound which is good for kicks and snares/claps and makes more room in the mix. It also has some effects I use a lot. I usually plug it from my synths and use the reverb, delay or the legendary vinyl simulator compression thing. Numark NS7 w/ flightcase Had this since 07. It’s making it easier to do DJ-stuff with certain parts of a mix fast when I have an idea. I don’t have to burn a CD first to do that. Korg MS2000 I like MS2000. I use it a lot for leads, effects and other bright parts of the mix, it’s easy to program and I always bring it on stage for the live shows. Dynacord Echocord Super 76 Nice tape delay and reverb. I use it sometimes on snare drums and guitars or stuff that’s maybe a bit too edgy and needs warmth. :motu896: sound card I’m a big MOTU fan. Had this since forever and it’s still my top choice for my kind of sound. For monitors, I’m currently using ADAM A7X.

What software are you using?

Logic I use Logic as my main sequencer. I like the way it looks and it sounds good. Reason When I started using computers, Reason was my first software. It’s genius, especially in rewire with Logic. The synths can do anything when you learn to use them and it has some very good reverbs, delays and compressors. Ableton Live is my main live tool when I’m doing laptop based shows. Can’t see any software outbeating Ableton for live stuff. It’s stable and the setup makes it easy to improvise. In the studio I use it in rewire with Logic (and Reason) if I need to do some more complex audio editing, and it’s also easy to chop up samples MPC style. Arturia Jupiter, Minimoog, Arp2600, Prophet Loving all of these soft synth versions of the great classics from Arturia. Use them for all kinds of stuff. Waves Waves is king for software compressors. Api 2500, SSL comp, H-comp, and CLA comp are my favorites. Native Instruments Kontakt 3 Great software sampler. My fav when I’m not on the MPC. Lexicon reverbs

What would be your dream setup?

A pitch shifter plugin that sounds impeccable.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I usually start out with some sort of drums or percussion to get it going. After that, it’s basically trying to found out the chords and harmonies of the song. When that’s figured out, I add layer for layer with stuff to back up the chords, like synth hooks, lines, small samples, whatever nice I can fit into the chords. I think my approach to producing is sort of like painting. I have a clear visual sight in my head of what’s coming out of the speakers. I usually mix the track as I’m producing it, because a lot of my stuff is really depending on how it sounds sonically, not just the song itself. That way it’s always easier to hear what’s needed also. The last part for me is always about cutting away stuff that doesn’t need to be there, and also adding effects and stuff to follow the dynamics of the track even more.

Where do you shop for and discover music?

Everywhere. I go record shopping or crate digging for vinyl, or sit on YouTube a whole night through looking for funk tunes. I dig wherever I can.

Any highlights from your latest musical discoveries?

Lots of different 60’s and 70’s folk rock and psych that I’ve been hipped to recently. Love it.

Any production tips & tricks you'd like to share?

Use your ears. Mixing is about levels. I want to find the level, position and intention of each track before I add too much effects to them. I switch master level back and forth a lot, trying to mix loud for a moment, then the opposite. That helps a lot. The key thing is to balance what’s more and what’s less important in a mix. What you want to stick out and what doesn’t need to be heard precisely. In my way of mixing, nothing should be struggling for attention. What's important is that the key message or intention of the song is intact.]]> Telonius http://www.theymakemusic.com/interviews/telonius/ Sun, 15 Dec 2013 03:01:15 +0000 http://www.theymakemusic.com/?p=285

Who are you and what do you do? How long have you been a working musician?

My name is Jonas Imbery aka Telonius and I've been doing music for more than 20 years.

What is your educational background? Are there any schools, courses, or books you recommend?

I was educated in flute, piano and sound engineering, and am self-educated in bass and saxophone. For courses, it depends on the city or region. Thanks to the internet there are plenty of very good tutorials and masterclasses about everything on YouTube. Look for your favorite producers or bands and try to find some little movies/interviews where they explain how they work. For me this way was the best school. A good teacher is always very helpful for learning an instrument in a proper way.

What hardware are you using?

Console: Amek Big. It's a great console with massive EQs by Neve, perhaps bit old school but I like the sound and it has very powerful EQs. Compressors: Urei LA 3, Alesis 3630. I use plug compressors too but here I know what to do exactly and nothing beats the sound of an old tube compressor like the Urei. The Alesis one is very cheap but effective. Very good sidechain. Effects: Lexicon Hall, Bell Delay, TC Electronic FireworX, Roland RE-501. I like them because they all have a unique sound. Synths: Roland JD-800, JUNO 6, JUNO-106, Korg Poly-800, Sequential Circuits DrumTraks, Roland TR-505 + 909, Doepfer MS 404, DX-7, MC-202 The Quality of plugs changed so much in the last years, but I love using the dinosaur. Like the console/effects or synths they have all a very unique sound especially the DrumTraks. All those synths have their own life. You never know if you can exactly rebuild the same sound. I love this.

What software are you using?

Software: Ableton Live + Logic both are very good sequencer softwares. For my live stuff I prefer using Ableton. Quick & easy to handle, but for complex arrangements, Logic is a bit better for me. Plug-ins: Izotope Ozone, Insight, Shutter, Iris. They're very good, especially Ozone for mastering, and Iris for creating your own sounds and sound design. I also use D16, NI Maschine, Focusrite Eq + Compressor, and many more.

What would be your dream setup?

Trumpet - Miles Davis; Guitar - Prince; Drums - Bernhard Purdie; Bass - Squarepusher; additional Production - La Funk Mob/Motorbass.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

It depends. For Telonius sometimes it's just a little melody or a bassline. Starting from there I try to create the rhythm sequence and build it from there. For finalising and mixing I go to my mate Rob Rox.

Where do you shop for and discover music?

Websites, promos, friends, physical stores.

Any highlights from your latest musical discoveries?

Experiencia, a Portuguese Pre Psycho Rock Band.

What's brewing in your studio?

At the moment, I brew the live setup for Telonius. It will be 2 friends and me. Hopefully we can start doing shows by October/Nov.

Any production tips & tricks you'd like to share?

Try to keep it simple. Not too much FX or sounds. I always start with 2 different delays and 1 or 2 different reverbs. More or less I have always the same sounds at the beginning for the basics, like drums/bass & keys. It's easier to stay at the initial idea for me. Always try to keep the first idea in mind, the one which really kicks you.]]>

Who are you and what do you do? How long have you been a working musician?

My name is Jonas Imbery aka Telonius and I've been doing music for more than 20 years.

What is your educational background? Are there any schools, courses, or books you recommend?

I was educated in flute, piano and sound engineering, and am self-educated in bass and saxophone. For courses, it depends on the city or region. Thanks to the internet there are plenty of very good tutorials and masterclasses about everything on YouTube. Look for your favorite producers or bands and try to find some little movies/interviews where they explain how they work. For me this way was the best school. A good teacher is always very helpful for learning an instrument in a proper way.

What hardware are you using?

Console: Amek Big. It's a great console with massive EQs by Neve, perhaps bit old school but I like the sound and it has very powerful EQs. Compressors: Urei LA 3, Alesis 3630. I use plug compressors too but here I know what to do exactly and nothing beats the sound of an old tube compressor like the Urei. The Alesis one is very cheap but effective. Very good sidechain. Effects: Lexicon Hall, Bell Delay, TC Electronic FireworX, Roland RE-501. I like them because they all have a unique sound. Synths: Roland JD-800, JUNO 6, JUNO-106, Korg Poly-800, Sequential Circuits DrumTraks, Roland TR-505 + 909, Doepfer MS 404, DX-7, MC-202 The Quality of plugs changed so much in the last years, but I love using the dinosaur. Like the console/effects or synths they have all a very unique sound especially the DrumTraks. All those synths have their own life. You never know if you can exactly rebuild the same sound. I love this.

What software are you using?

Software: Ableton Live + Logic both are very good sequencer softwares. For my live stuff I prefer using Ableton. Quick & easy to handle, but for complex arrangements, Logic is a bit better for me. Plug-ins: Izotope Ozone, Insight, Shutter, Iris. They're very good, especially Ozone for mastering, and Iris for creating your own sounds and sound design. I also use D16, NI Maschine, Focusrite Eq + Compressor, and many more.

What would be your dream setup?

Trumpet - Miles Davis; Guitar - Prince; Drums - Bernhard Purdie; Bass - Squarepusher; additional Production - La Funk Mob/Motorbass.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

It depends. For Telonius sometimes it's just a little melody or a bassline. Starting from there I try to create the rhythm sequence and build it from there. For finalising and mixing I go to my mate Rob Rox.

Where do you shop for and discover music?

Websites, promos, friends, physical stores.

Any highlights from your latest musical discoveries?

Experiencia, a Portuguese Pre Psycho Rock Band.

What's brewing in your studio?

At the moment, I brew the live setup for Telonius. It will be 2 friends and me. Hopefully we can start doing shows by October/Nov.

Any production tips & tricks you'd like to share?

Try to keep it simple. Not too much FX or sounds. I always start with 2 different delays and 1 or 2 different reverbs. More or less I have always the same sounds at the beginning for the basics, like drums/bass & keys. It's easier to stay at the initial idea for me. Always try to keep the first idea in mind, the one which really kicks you.]]> Deepchild http://www.theymakemusic.com/interviews/deepchild/ Mon, 09 Dec 2013 22:39:11 +0000 http://www.theymakemusic.com/?p=269

Who are you and what do you do? How long have you been a working musician?

My name is Rick Bull, and I produce electronic music as "Deepchild." The moniker is one which has been around since around 1998, and covers a lot of sonic territory, with a focus on dub-heavy techno sounds. I've been performing as a musician and producer since 1995 — my first club-show, in Australia. I have, however, only been working "full-time" as a musician for 10 years. I've been living in Berlin for about 4 years now, and most of my work is in clubs here and across Europe, with North American tours every 3 or 4 months. I've DJ'd and performed live sets at clubs/festivals like Berghain, Tresor, Detroit Electronic Music Festival, EXIT Festival (Serbia), SONAR Festival, Decibel Festival (US), New Forms Festival (Can), Electron Festival (Gen), and various clubs from Tokyo to Detroit. I've released and remixed work for labels like Trapez, Get Physical, Sleaze Records, Thoughtless Music, Om Records, Freerange Records, Adjunct Audio, Affin, and more. Most recently, I'm happy to have a new EP for Caduceus Records. In addition, I've been producing sample/loop packs for DJs and producers for companies like Beatport Sounds To Sample. I don't like to think of myself as a "musician" — more as someone who plays with sounds and ideas — and certainly someone who continues to learn about life via music!

What is your educational background? Are there any schools, courses, or books you recommend?

I studied classical violin and then classical/jazz guitar for 10 years before starting to mess around with electronic music production. This was a wonderful way to understand the mechanics of ideas like melody, harmony, counterpoint and arrangement, and was a fantastic bedrock of my musical education. I never had much experience with minimalism, repetition or modal music until university, where I completed a Bachelor of Arts in Communication, and focused on Sound Design. University was brilliantly inspiring inasmuch as it introduced me to a vast and exciting political history of sound — everyone from Philip Glass to Sun Ra's Afro-Futurism, King Tubby, to the history of Musique Concrete etc. Studying "musicology" as such helped me HEAR the music I'd studied for so long in a new and exciting context - i.e., as part of a bigger story. Going to raves in the early 90s, and being involved heavily in public radio was a fantastic musical education to me. The best advice/recommendation I can give anyone who wishes to pursue music is, firstly, give it time — I set myself 15 year goals, slow and steady. Secondly, just turn up and practice (on your instrument, or in the studio) every single day. Before I could improvise on guitar, I spent hours practicing scales, over and over and over again. Before I made a single good tune, I wrote hours of awful stuff. For me, music remains primarily about "process," and the "product" is secondary. Just practice. In terms of courses or books? I cannot speak highly enough about authors like David Toop, Bill Drummond, David Byrne or Kodwo Eshun — these are musical futurists, dreamers and scholars — they have fueled my vision and expanded my horizons. Schools etc, I'm not so sure about. After classical training, I've been essentially completely self-taught in terms of electronic music production. There are no shortages of great technical resources online, but what feels MOST important to me are the deeper cultural / philosophical / sonic questions worth asking. Check out Toop's "Ocean of Sound", or Eshun's "More Brilliant Than the Sun: Adventures in Sonic Fiction" for a start.

What hardware are you using?

Roland SH-101 analogue monosynth: Simply the most gorgeous, richly-timbred, immediate and flexible mono-synth I've ever owned. A joy to sequence live. Electron Machinedrum: a robust, well-designed drum machine which is fun to sequence, and can create completely bizarre and exciting timbres. Autechre are big fans! Electron Octatrack: (see above) x0xb0x analogue monosynth: dirty, classic, analogue TB-303 clone. Fun to tweak. I built it myself from a kit, so it feels special an personal. MFB-522 analogue drum-machine: great little CR78/TR808 sounding drum-machine. Internal sequencer is crap, but sounds are lovely, warm and lo-fi. Korg Monotribe analogue monosynth: fun, easy, immediate, gritty sounding synth, great way to come up with weird squelchy acid noises and bleeps. Korg VOLCABASS, VOLCABEATS, VOLCAKEYS: all on order so I haven't used them yet, but I'm excited to play with them — especially in LIVE sets. Roland Alpha Juno 2 analogue polysynth: distinctive and classic "Detroit" techno sounds. Easy, fun, and with a super-cool "auto-chord" function made famous by Carl Craig. Weapon! Sherman Filterbank 2 analogue filter: very crazy, noisy, character-filled analogue filtering. It's strange, brutal and very original! Boss DD-6 digital-delay: you can never have too many delay-pedals. Radio Shack transistor analogue-delay: old, cheap, nasty-sounding dub-delay. Boss DM300 transistor analogue-delay: classic, creamy, lo-fi analog delay rack. Miscellaneous cheap and weird FX pedals, boxes etc. Allen and Heath ZED10-FX analogue-mixer: I love mixing through a simple analogue desk. I also like the slightly bad internal effects. Just fun to play with. Fireface UXC audio-interface: simply BRILLIANT audio, with very low latency. I tour with this for live sets too. Multi in and out, as well as MIDI. ROCK solid. Yamaha HS80M powered-monitors: simple, effective monitoring. Good for the money. Sennheiser HD25 headphones: DJ-standard, great build, solid sound-isolation in the club Sennheiser IE80 in-ear monitors/earbuds: expensive, but AMAZING audio-fidelity. I actually write a lot of music using these little ear-buds. They are astounding. Ableton Push Controller: superbly well-designed, intuitive control of Ableton. Great for beat-making. Akai APC40 controller: adequate at best, poorly built but still easy to get hold of on tour for live-sets. Not recommended.

What software are you using?

Ableton Live Suite 9: flexible, intuitive, and easy to transition between the club (for live-sets), to the plane (writing on the go), and the studio. It really is dream software for me. It's an instrument. The full "Suite" version has more than enough synths, samplers, plugins etc to keep you busy. Native Instruments Reaktor: infinitely exciting, original and downright weird modular synthesis. The User Library is constantly updated, and is so much fun to experiment with. Native Instruments FM8: brilliant FM synthesis. Great for bass-sounds, great for sharp, harsh, spiky 80s-sounding elements. Native Instruments Massive: solid analogue-style synthesis. Native Instruments Lazer Bass: fun, wobbly sounds. PSP VintageWarmer: great, tape-style 'fat' compression. PSP Xenon: really great transparent limiter. A secret-weapon. Miscellaneous freeware, shareware, 3rd-party plugins. I often find that free plugins are the coolest and most original.

What would be your dream setup?

My dream setup? A fully sound-isolated room, an array of the new Neumann monitors, a desk and a laptop running Ableton. My real dream is to have the proper knowledge to compose elegantly and effectively using a single-piece of software, like Ableton Live. The rest is just eye-candy, smoke and mirrors...

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I try to write and listen to new music daily, with a fairly regular composition regime. The morning is spent listening to new music — before anything else. I'm currently listening (as I type) to the 1977 Benny Maupin album, "The Jewel in The Lotus" (ECM Records). It's superb improvised jazz. Previously I was surfing through the new releases section on Bleep.com, and really enjoying previews of the new James Ruskin 12" release. After listening to new material (often whilst emailing), I usually start studio time around 1pm or so, and work until about 5pm. Then I take a couple of hours of rest, and start work again in the evening, 'till late. Breaks for tea, yoga and naps are very important. Listening to music whilst walking, shopping, sleeping is also a really great way to understand it better. Playing in a club, for me, is the best way to find out what works in a physical sense. Writing and listening to music whilst extremely jet-lagged, in transit is also fantastic. My main "rule" is to write regularly, and in as many different environments as possible.

Where do you shop for and discover music?

I pretty much delete all the promos I get sent via email, as mostly it's not so well-curated to my particular tastes, so it takes a lot of work to sift through. I find a lot of great new music via bleep.com, rubadubrecords.co.uk, phonicarecords.com, pitchfork.com and occasionally beatport.com and residentadvisor.net. I trawl a lot of blogs and mixes from friends, but try to avoid charts on websites, as they generally list music which every other DJ will be playing. I still buy a lot of material which is only available on vinyl, even though when I'm DJing I only play digital formats. Occasionally, I'll even discover music via youtube, and remaster it to play it out in clubs. I try to keep my approach diverse, non-puritanical and a little experimental. I'm not very concerned about the "format" or method of performance — I'm more interested in discovering new sounds. My SECRET WEAPON is www.archive.org — a massive database of free license-free music, field recordings and weirdness.

Any highlights from your latest musical discoveries?

Most recently, I've been really amazed by my (late!) discovery of the producer Forest Swords, as well as great labels like Swamp 81, NonPlus, Audio Couture, SunkLo, Jealous God, and more. I've rediscovered a lot of brilliant soundtrack and video-game music (from the likes of Hans Zimmer and Clint Mansel, for example) via way of bleep.com and even by random searches on discogs.com and iTunes.

What's brewing in your studio?

I have new releases being finished off for Thoughtless Music, Facetoface (techno legend Tim Xavier's new label) and Convex Industries. I'm not privy to sharing these, at this stage. I can, however, share some previews from my new 12" EP with the wonderful Caduceus Records. You can check out some previews here: https://soundcloud.com/caduceus-records/sets/cdrd007-deepchild-bethania-ep I wanted to write something quite raw, direct and warm for this EP, and I actually experimented with setting up a few of the Ableton parts the way I used to work with my old Akai MPC 2000XL sampler — i.e., actually assigning looped clips to single keys for triggering. It's difficult to explain without showing, but triggering pre-rendered loops (which are obviously locked to a BPM) in the same way as you might trigger single-hit samples gives you some cool envelope control and trigger options which aren't so easy to set up if you are simply cutting and pasting loops, back to back. I loaded a lot of loops into the sampler in Ableton, and then triggered them manually, tweaking the attack, decay time of the loop until it "felt" good. It's a very primitive, old-school sort of approach, but it's a fun way to loosen up static loops and generate some ideas with a more fluid, organic sound to them.

Any production tips & tricks you'd like to share?

The best advice I ever received has always been to edit, reduce, and "take away" elements, rather than to continue to add them to a project. Here's a list of tips I keep coming back to: a) When you've finished writing a piece, let it "sit" for a few days and then listen again to it. b) Don't spend too long working on a piece. If you do, you often risk overworking it. Remember it's ok to trash ideas. Do it often. c) When EQing, remember that it's often much more useful to "remove" frequencies than to push them. Always ask "what can I do without"? d) When using effect-sends, I often find that EQing, compressing and even side-chaining them can be a useful way to create space and control. e) Stereo parts are greatly overrated. Use panning to place sounds in a mix. f) Parallel mix-bus compression is a brilliant, simple way to create some beef in a mix without risking crushing transient frequencies in parts. g) Listen to mixes on a variety of sources — earbuds, computer speakers, monitors, etc. to get a good "feel" for your mix, and what you'd like it to achieve. h) Remember that at the end of the day, "it's only music."]]>

Who are you and what do you do? How long have you been a working musician?

My name is Rick Bull, and I produce electronic music as "Deepchild." The moniker is one which has been around since around 1998, and covers a lot of sonic territory, with a focus on dub-heavy techno sounds. I've been performing as a musician and producer since 1995 — my first club-show, in Australia. I have, however, only been working "full-time" as a musician for 10 years. I've been living in Berlin for about 4 years now, and most of my work is in clubs here and across Europe, with North American tours every 3 or 4 months. I've DJ'd and performed live sets at clubs/festivals like Berghain, Tresor, Detroit Electronic Music Festival, EXIT Festival (Serbia), SONAR Festival, Decibel Festival (US), New Forms Festival (Can), Electron Festival (Gen), and various clubs from Tokyo to Detroit. I've released and remixed work for labels like Trapez, Get Physical, Sleaze Records, Thoughtless Music, Om Records, Freerange Records, Adjunct Audio, Affin, and more. Most recently, I'm happy to have a new EP for Caduceus Records. In addition, I've been producing sample/loop packs for DJs and producers for companies like Beatport Sounds To Sample. I don't like to think of myself as a "musician" — more as someone who plays with sounds and ideas — and certainly someone who continues to learn about life via music!

What is your educational background? Are there any schools, courses, or books you recommend?

I studied classical violin and then classical/jazz guitar for 10 years before starting to mess around with electronic music production. This was a wonderful way to understand the mechanics of ideas like melody, harmony, counterpoint and arrangement, and was a fantastic bedrock of my musical education. I never had much experience with minimalism, repetition or modal music until university, where I completed a Bachelor of Arts in Communication, and focused on Sound Design. University was brilliantly inspiring inasmuch as it introduced me to a vast and exciting political history of sound — everyone from Philip Glass to Sun Ra's Afro-Futurism, King Tubby, to the history of Musique Concrete etc. Studying "musicology" as such helped me HEAR the music I'd studied for so long in a new and exciting context - i.e., as part of a bigger story. Going to raves in the early 90s, and being involved heavily in public radio was a fantastic musical education to me. The best advice/recommendation I can give anyone who wishes to pursue music is, firstly, give it time — I set myself 15 year goals, slow and steady. Secondly, just turn up and practice (on your instrument, or in the studio) every single day. Before I could improvise on guitar, I spent hours practicing scales, over and over and over again. Before I made a single good tune, I wrote hours of awful stuff. For me, music remains primarily about "process," and the "product" is secondary. Just practice. In terms of courses or books? I cannot speak highly enough about authors like David Toop, Bill Drummond, David Byrne or Kodwo Eshun — these are musical futurists, dreamers and scholars — they have fueled my vision and expanded my horizons. Schools etc, I'm not so sure about. After classical training, I've been essentially completely self-taught in terms of electronic music production. There are no shortages of great technical resources online, but what feels MOST important to me are the deeper cultural / philosophical / sonic questions worth asking. Check out Toop's "Ocean of Sound", or Eshun's "More Brilliant Than the Sun: Adventures in Sonic Fiction" for a start.

What hardware are you using?

Roland SH-101 analogue monosynth: Simply the most gorgeous, richly-timbred, immediate and flexible mono-synth I've ever owned. A joy to sequence live. Electron Machinedrum: a robust, well-designed drum machine which is fun to sequence, and can create completely bizarre and exciting timbres. Autechre are big fans! Electron Octatrack: (see above) x0xb0x analogue monosynth: dirty, classic, analogue TB-303 clone. Fun to tweak. I built it myself from a kit, so it feels special an personal. MFB-522 analogue drum-machine: great little CR78/TR808 sounding drum-machine. Internal sequencer is crap, but sounds are lovely, warm and lo-fi. Korg Monotribe analogue monosynth: fun, easy, immediate, gritty sounding synth, great way to come up with weird squelchy acid noises and bleeps. Korg VOLCABASS, VOLCABEATS, VOLCAKEYS: all on order so I haven't used them yet, but I'm excited to play with them — especially in LIVE sets. Roland Alpha Juno 2 analogue polysynth: distinctive and classic "Detroit" techno sounds. Easy, fun, and with a super-cool "auto-chord" function made famous by Carl Craig. Weapon! Sherman Filterbank 2 analogue filter: very crazy, noisy, character-filled analogue filtering. It's strange, brutal and very original! Boss DD-6 digital-delay: you can never have too many delay-pedals. Radio Shack transistor analogue-delay: old, cheap, nasty-sounding dub-delay. Boss DM300 transistor analogue-delay: classic, creamy, lo-fi analog delay rack. Miscellaneous cheap and weird FX pedals, boxes etc. Allen and Heath ZED10-FX analogue-mixer: I love mixing through a simple analogue desk. I also like the slightly bad internal effects. Just fun to play with. Fireface UXC audio-interface: simply BRILLIANT audio, with very low latency. I tour with this for live sets too. Multi in and out, as well as MIDI. ROCK solid. Yamaha HS80M powered-monitors: simple, effective monitoring. Good for the money. Sennheiser HD25 headphones: DJ-standard, great build, solid sound-isolation in the club Sennheiser IE80 in-ear monitors/earbuds: expensive, but AMAZING audio-fidelity. I actually write a lot of music using these little ear-buds. They are astounding. Ableton Push Controller: superbly well-designed, intuitive control of Ableton. Great for beat-making. Akai APC40 controller: adequate at best, poorly built but still easy to get hold of on tour for live-sets. Not recommended.

What software are you using?

Ableton Live Suite 9: flexible, intuitive, and easy to transition between the club (for live-sets), to the plane (writing on the go), and the studio. It really is dream software for me. It's an instrument. The full "Suite" version has more than enough synths, samplers, plugins etc to keep you busy. Native Instruments Reaktor: infinitely exciting, original and downright weird modular synthesis. The User Library is constantly updated, and is so much fun to experiment with. Native Instruments FM8: brilliant FM synthesis. Great for bass-sounds, great for sharp, harsh, spiky 80s-sounding elements. Native Instruments Massive: solid analogue-style synthesis. Native Instruments Lazer Bass: fun, wobbly sounds. PSP VintageWarmer: great, tape-style 'fat' compression. PSP Xenon: really great transparent limiter. A secret-weapon. Miscellaneous freeware, shareware, 3rd-party plugins. I often find that free plugins are the coolest and most original.

What would be your dream setup?

My dream setup? A fully sound-isolated room, an array of the new Neumann monitors, a desk and a laptop running Ableton. My real dream is to have the proper knowledge to compose elegantly and effectively using a single-piece of software, like Ableton Live. The rest is just eye-candy, smoke and mirrors...

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I try to write and listen to new music daily, with a fairly regular composition regime. The morning is spent listening to new music — before anything else. I'm currently listening (as I type) to the 1977 Benny Maupin album, "The Jewel in The Lotus" (ECM Records). It's superb improvised jazz. Previously I was surfing through the new releases section on Bleep.com, and really enjoying previews of the new James Ruskin 12" release. After listening to new material (often whilst emailing), I usually start studio time around 1pm or so, and work until about 5pm. Then I take a couple of hours of rest, and start work again in the evening, 'till late. Breaks for tea, yoga and naps are very important. Listening to music whilst walking, shopping, sleeping is also a really great way to understand it better. Playing in a club, for me, is the best way to find out what works in a physical sense. Writing and listening to music whilst extremely jet-lagged, in transit is also fantastic. My main "rule" is to write regularly, and in as many different environments as possible.

Where do you shop for and discover music?

I pretty much delete all the promos I get sent via email, as mostly it's not so well-curated to my particular tastes, so it takes a lot of work to sift through. I find a lot of great new music via bleep.com, rubadubrecords.co.uk, phonicarecords.com, pitchfork.com and occasionally beatport.com and residentadvisor.net. I trawl a lot of blogs and mixes from friends, but try to avoid charts on websites, as they generally list music which every other DJ will be playing. I still buy a lot of material which is only available on vinyl, even though when I'm DJing I only play digital formats. Occasionally, I'll even discover music via youtube, and remaster it to play it out in clubs. I try to keep my approach diverse, non-puritanical and a little experimental. I'm not very concerned about the "format" or method of performance — I'm more interested in discovering new sounds. My SECRET WEAPON is www.archive.org — a massive database of free license-free music, field recordings and weirdness.

Any highlights from your latest musical discoveries?

Most recently, I've been really amazed by my (late!) discovery of the producer Forest Swords, as well as great labels like Swamp 81, NonPlus, Audio Couture, SunkLo, Jealous God, and more. I've rediscovered a lot of brilliant soundtrack and video-game music (from the likes of Hans Zimmer and Clint Mansel, for example) via way of bleep.com and even by random searches on discogs.com and iTunes.

What's brewing in your studio?

I have new releases being finished off for Thoughtless Music, Facetoface (techno legend Tim Xavier's new label) and Convex Industries. I'm not privy to sharing these, at this stage. I can, however, share some previews from my new 12" EP with the wonderful Caduceus Records. You can check out some previews here: https://soundcloud.com/caduceus-records/sets/cdrd007-deepchild-bethania-ep I wanted to write something quite raw, direct and warm for this EP, and I actually experimented with setting up a few of the Ableton parts the way I used to work with my old Akai MPC 2000XL sampler — i.e., actually assigning looped clips to single keys for triggering. It's difficult to explain without showing, but triggering pre-rendered loops (which are obviously locked to a BPM) in the same way as you might trigger single-hit samples gives you some cool envelope control and trigger options which aren't so easy to set up if you are simply cutting and pasting loops, back to back. I loaded a lot of loops into the sampler in Ableton, and then triggered them manually, tweaking the attack, decay time of the loop until it "felt" good. It's a very primitive, old-school sort of approach, but it's a fun way to loosen up static loops and generate some ideas with a more fluid, organic sound to them.

Any production tips & tricks you'd like to share?

The best advice I ever received has always been to edit, reduce, and "take away" elements, rather than to continue to add them to a project. Here's a list of tips I keep coming back to: a) When you've finished writing a piece, let it "sit" for a few days and then listen again to it. b) Don't spend too long working on a piece. If you do, you often risk overworking it. Remember it's ok to trash ideas. Do it often. c) When EQing, remember that it's often much more useful to "remove" frequencies than to push them. Always ask "what can I do without"? d) When using effect-sends, I often find that EQing, compressing and even side-chaining them can be a useful way to create space and control. e) Stereo parts are greatly overrated. Use panning to place sounds in a mix. f) Parallel mix-bus compression is a brilliant, simple way to create some beef in a mix without risking crushing transient frequencies in parts. g) Listen to mixes on a variety of sources — earbuds, computer speakers, monitors, etc. to get a good "feel" for your mix, and what you'd like it to achieve. h) Remember that at the end of the day, "it's only music."]]> Jack Fell Down http://www.theymakemusic.com/interviews/jack-fell-down/ Wed, 24 Jul 2013 18:42:21 +0000 http://www.theymakemusic.com/?p=246

Who are you and what do you do? How long have you been a working musician?

T - Hello, we're Tony and James, also known as Jack Fell Down. We've been producing music separately for a while now but have only recently gave up the day grind of a “nine to five”.

What is your educational background? Are there any schools, courses, or books you recommend?

T - Neither of us is classically trained, we're both self taught. In fact, I was asked to leave music at school as I had "no discernible musical talent whatsoever." Turns out I just didn't like the recorder, ha. J – In fairness to Tony's music teacher they probably had a point! We'd suggest having a frequency guide or range guide available when you're just starting out. It really helps you understand sounds and how to place them.

What hardware are you using?

J - Depends on where we're working from! As we work together but live in different parts of the country it's hard to use hardware. We need two versions of everything or have to mess about with audio all the time and it stops being fun. We have a TL Audio Ivory-Series 5051 Compressor which we LOVE for putting everything through. We also have some generic MIDI kit, a few drum boxes and a Roland MC-505 Groovebox. Workstation wise I am running a 27” iMac, i5 with 8GB of RAM. I also have a pre Intel G5 that we use for recording with the help of a Yamaha 01X when I run out of channels. T – I am cooking with a similar rig to James but using a MacBook as my workstation. I like being nomadic and we can use it when we travel. For headphones we both use Sony MDR-V700, and speaker wise we both have KRK Rokit 8's.

What software are you using?

T - We both use Logic Pro as our DAW, but we live in different parts of the country, so when we need to work on a track together, we host the .lso files in the cloud and work on them intermittently. Using the cloud has really allowed us to continue being creative outside of time allocated for the studio. As for plug-ins, we are big fans of the whole vintage Korg Legacy pack at the moment. Nothing ever replicates the sound of analogue, but this comes close without buying a load of gear and ROM cards. We also use CamelPhat, FM8, Massive and Novation's Bass Station a lot. The EXS24 is also an underrated tool. J – Not forgetting the PSP VintageWarmer set – this stuff is almost uneatable.

What would be your dream setup?

J – I am really happy with how things work for us these days. I would love it if Logic sort out a collaborative tool that will allow users to connect and work remotely in real time, at the same time but until that happens a slow studio evolution promotes a better understanding of all your equipment.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

T - Normally we will begin a track separately, we'll have a rough idea of what we want a track to achieve then we'll share it. The other person will take the lso down from the cloud and spend sometime working on it. Sometimes the track will get totally changed, other times the changes will be less aggressive. We usually work this way until the track is finished and we divide up who works on which tracks at the start of each week.

Where do you shop for and discover music?

A lot of the great music we hear comes from friends. They can either come into our email inbox, or if we are looking, it'll be on sites like Juno, Whatpeopleplay, etc. We love having a good search on SoundCloud for unsigned gems. We also usually spend a fortune on Discogs each month.

Any highlights from your latest musical discoveries?

The obvious players like Detroit Swindle, Waze & Odyssey, Ripperton, Chaim, Timmy P etc, and for something a little different, we are feeling DFRNT, El Txef A, & Skinnerbox.

What's brewing in your studio?

We have just finished an EP with Stee Downes that is due out on the 24th June. These tracks took us 14 months, from inception to now, to get right. We tried a few ways to record Stee's vocals, we played his takes back through old tube compressors, layered them up Kate Bush style. As for the synths they're a combination of analogue and digital, they were all changed and modeled time and time again until we thought they were perfect. We also have a track out now on Newington, it's called "For You" and features our newest addition, the Korg PolySix.

Any production tips & tricks you'd like to share?

For a nice spread on your snare, duplicate the track and pan one hard left and the other hard right. Simple but effective. Think of the stereo bandwidth as a canvas, if you have two black lines in the same place, you will cover up what's behind it so one will disappear and the other will end up looking messy. EQ and compress as like an artist and give everything its own frequency and stereo profile.]]>

Who are you and what do you do? How long have you been a working musician?

T - Hello, we're Tony and James, also known as Jack Fell Down. We've been producing music separately for a while now but have only recently gave up the day grind of a “nine to five”.

What is your educational background? Are there any schools, courses, or books you recommend?

T - Neither of us is classically trained, we're both self taught. In fact, I was asked to leave music at school as I had "no discernible musical talent whatsoever." Turns out I just didn't like the recorder, ha. J – In fairness to Tony's music teacher they probably had a point! We'd suggest having a frequency guide or range guide available when you're just starting out. It really helps you understand sounds and how to place them.

What hardware are you using?

J - Depends on where we're working from! As we work together but live in different parts of the country it's hard to use hardware. We need two versions of everything or have to mess about with audio all the time and it stops being fun. We have a TL Audio Ivory-Series 5051 Compressor which we LOVE for putting everything through. We also have some generic MIDI kit, a few drum boxes and a Roland MC-505 Groovebox. Workstation wise I am running a 27” iMac, i5 with 8GB of RAM. I also have a pre Intel G5 that we use for recording with the help of a Yamaha 01X when I run out of channels. T – I am cooking with a similar rig to James but using a MacBook as my workstation. I like being nomadic and we can use it when we travel. For headphones we both use Sony MDR-V700, and speaker wise we both have KRK Rokit 8's.

What software are you using?

T - We both use Logic Pro as our DAW, but we live in different parts of the country, so when we need to work on a track together, we host the .lso files in the cloud and work on them intermittently. Using the cloud has really allowed us to continue being creative outside of time allocated for the studio. As for plug-ins, we are big fans of the whole vintage Korg Legacy pack at the moment. Nothing ever replicates the sound of analogue, but this comes close without buying a load of gear and ROM cards. We also use CamelPhat, FM8, Massive and Novation's Bass Station a lot. The EXS24 is also an underrated tool. J – Not forgetting the PSP VintageWarmer set – this stuff is almost uneatable.

What would be your dream setup?

J – I am really happy with how things work for us these days. I would love it if Logic sort out a collaborative tool that will allow users to connect and work remotely in real time, at the same time but until that happens a slow studio evolution promotes a better understanding of all your equipment.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

T - Normally we will begin a track separately, we'll have a rough idea of what we want a track to achieve then we'll share it. The other person will take the lso down from the cloud and spend sometime working on it. Sometimes the track will get totally changed, other times the changes will be less aggressive. We usually work this way until the track is finished and we divide up who works on which tracks at the start of each week.

Where do you shop for and discover music?

A lot of the great music we hear comes from friends. They can either come into our email inbox, or if we are looking, it'll be on sites like Juno, Whatpeopleplay, etc. We love having a good search on SoundCloud for unsigned gems. We also usually spend a fortune on Discogs each month.

Any highlights from your latest musical discoveries?

The obvious players like Detroit Swindle, Waze & Odyssey, Ripperton, Chaim, Timmy P etc, and for something a little different, we are feeling DFRNT, El Txef A, & Skinnerbox.

What's brewing in your studio?

We have just finished an EP with Stee Downes that is due out on the 24th June. These tracks took us 14 months, from inception to now, to get right. We tried a few ways to record Stee's vocals, we played his takes back through old tube compressors, layered them up Kate Bush style. As for the synths they're a combination of analogue and digital, they were all changed and modeled time and time again until we thought they were perfect. We also have a track out now on Newington, it's called "For You" and features our newest addition, the Korg PolySix.

Any production tips & tricks you'd like to share?

For a nice spread on your snare, duplicate the track and pan one hard left and the other hard right. Simple but effective. Think of the stereo bandwidth as a canvas, if you have two black lines in the same place, you will cover up what's behind it so one will disappear and the other will end up looking messy. EQ and compress as like an artist and give everything its own frequency and stereo profile.]]> Hugo http://www.theymakemusic.com/interviews/hugo/ Sat, 20 Jul 2013 19:49:30 +0000 http://www.theymakemusic.com/?p=245

Who are you and what do you do? How long have you been a working musician?

Hi there, I'm Hugo and I grew up with music since I was really young. I've been playing in many different bands since I was a teenager, and after graduating as a sound engineer, I started working at a radio station. At that time, I didn't have money to buy synthesizers or whatever instrument or drum machine, so I worked hard, and for many years, I had even 3 jobs at the same time. I was so happy when I paid the bill for my first sampler and synthesizer that I suddenly realized how important for my life that it was to start making music. I've always been focused on the creative side of my life even if it was quite hard to be creative after an 8 hour shift in a moving company. Now it is 15 years that I have lived only making music.

What is your educational background? Are there any schools, courses, or books you recommend?

After my BA in Communication Sciences at the University of Turin, I attended a master class in sound engineering at the Virtual Reality and Multimedia Park in Turin. An amazing experience even though I had to find the right path by myself as nobody teaches the secrets of sound designing unfortunately. Anyway I would recommend any schools that give you the basics of the mysterious and forever challenging world of sound design. Through a solid, and sometimes boring knowledge you will afford the future challenges of music production in the best possible way. A lot of things I studied during those days have been really helpful in my daily studio activity. A must have book is "Mastering Audio: The Art and the Science" by Bob Katz.

What hardware are you using?

I'm using the Elektron machines a lot. The Machinedrum is still one of my favourite pieces of gear. Monomachine is great as well and the new Analog Four is amazing. I'm really into their sound and their way to approach the musical creation. Another gear I will never stop using is the Roland MIDI pick-up for my Stratocaster. Instead of the MIDI keyboard, I frequently play my guitar to send MIDI out. Inspiring and creative at the same time.

What software are you using?

I've been using Ableton since the 8th version. I've been a cubaser for years but now I'm creating music with Live 9. I find it very intuitive and fast in the creative process especially for the fact that you don't have to follow a time line during the creation and you can record ideas easily is a great feature. Between all of them, what I really love is that these machines or softwares give me the opportunity to find out what is my own sound. The Elektron synthetizer is made with almost no sound bank which forces you to build your own sounds. Ableton Live, for instance, with its loop-based approach to the music is perfect to catch the inspiration of the moment.

What would be your dream setup?

Actually I don't know. Maybe the one I have. My studio isn't equipped with the latest and most expensive hardware or software but it's mine and it reflects my way of making music. My ears are used to it and I have all I need to do my music. I would like to have more space though maybe and my next step will be to have a cool and spacious recording room next to my studio with a gorgeous collection of mics.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Everything starts from ideas. It is a blend of future and past moments mixed up together in music. I have a vision and a musical aesthetic and for each track I explore. I refine my tastes every time I make my music.

Where do you shop for and discover music?

Mainly from friends and promo services and I am still buying the good old vinyl especially when it increases the quality and quantity of my beloved jazz collection.

Any highlights from your latest musical discoveries?

I don't remember which company presses old 180 grams jazz records. I usually go for the classics as they never fail. One of the last records I bought is the vinyl repressing of Miles Davis's Bitches Brew with poster and booklet included plus a video of the Isle of Wight concert. Peace, love and Miles Davis.

What's brewing in your studio?

I did some stereo takes with the M/S stereo technique for the first time. I'm very surprised of the result and I think I will experiment with this more in the future.

Any production tips & tricks you'd like to share?

Choose a few instruments, specific hardware and outstanding software that you feel comfortable with, learn how to use them properly, be creative and make your own music.]]>

Who are you and what do you do? How long have you been a working musician?

Hi there, I'm Hugo and I grew up with music since I was really young. I've been playing in many different bands since I was a teenager, and after graduating as a sound engineer, I started working at a radio station. At that time, I didn't have money to buy synthesizers or whatever instrument or drum machine, so I worked hard, and for many years, I had even 3 jobs at the same time. I was so happy when I paid the bill for my first sampler and synthesizer that I suddenly realized how important for my life that it was to start making music. I've always been focused on the creative side of my life even if it was quite hard to be creative after an 8 hour shift in a moving company. Now it is 15 years that I have lived only making music.

What is your educational background? Are there any schools, courses, or books you recommend?

After my BA in Communication Sciences at the University of Turin, I attended a master class in sound engineering at the Virtual Reality and Multimedia Park in Turin. An amazing experience even though I had to find the right path by myself as nobody teaches the secrets of sound designing unfortunately. Anyway I would recommend any schools that give you the basics of the mysterious and forever challenging world of sound design. Through a solid, and sometimes boring knowledge you will afford the future challenges of music production in the best possible way. A lot of things I studied during those days have been really helpful in my daily studio activity. A must have book is "Mastering Audio: The Art and the Science" by Bob Katz.

What hardware are you using?

I'm using the Elektron machines a lot. The Machinedrum is still one of my favourite pieces of gear. Monomachine is great as well and the new Analog Four is amazing. I'm really into their sound and their way to approach the musical creation. Another gear I will never stop using is the Roland MIDI pick-up for my Stratocaster. Instead of the MIDI keyboard, I frequently play my guitar to send MIDI out. Inspiring and creative at the same time.

What software are you using?

I've been using Ableton since the 8th version. I've been a cubaser for years but now I'm creating music with Live 9. I find it very intuitive and fast in the creative process especially for the fact that you don't have to follow a time line during the creation and you can record ideas easily is a great feature. Between all of them, what I really love is that these machines or softwares give me the opportunity to find out what is my own sound. The Elektron synthetizer is made with almost no sound bank which forces you to build your own sounds. Ableton Live, for instance, with its loop-based approach to the music is perfect to catch the inspiration of the moment.

What would be your dream setup?

Actually I don't know. Maybe the one I have. My studio isn't equipped with the latest and most expensive hardware or software but it's mine and it reflects my way of making music. My ears are used to it and I have all I need to do my music. I would like to have more space though maybe and my next step will be to have a cool and spacious recording room next to my studio with a gorgeous collection of mics.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Everything starts from ideas. It is a blend of future and past moments mixed up together in music. I have a vision and a musical aesthetic and for each track I explore. I refine my tastes every time I make my music.

Where do you shop for and discover music?

Mainly from friends and promo services and I am still buying the good old vinyl especially when it increases the quality and quantity of my beloved jazz collection.

Any highlights from your latest musical discoveries?

I don't remember which company presses old 180 grams jazz records. I usually go for the classics as they never fail. One of the last records I bought is the vinyl repressing of Miles Davis's Bitches Brew with poster and booklet included plus a video of the Isle of Wight concert. Peace, love and Miles Davis.

What's brewing in your studio?

I did some stereo takes with the M/S stereo technique for the first time. I'm very surprised of the result and I think I will experiment with this more in the future.

Any production tips & tricks you'd like to share?

Choose a few instruments, specific hardware and outstanding software that you feel comfortable with, learn how to use them properly, be creative and make your own music.]]> BE http://www.theymakemusic.com/interviews/be/ Sat, 11 May 2013 13:35:14 +0000 http://www.theymakemusic.com/?p=243

Who are you and what do you do? How long have you been a working musician?

Hello, my name is Garth Be and I do many things as well as produce music. I record under the name BE, which makes finding my music online a lot of fun. I've been experimenting with sound for as long as I can remember and I absolutely love it. I've released tracks with Still Music, Wolf Music, Prime Numbers, Neroli and Development. I have a release scheduled for the 1st of April on Huddtraxx.

What is your educational background? Are there any schools, courses, or books you recommend?

I'm mainly self taught. Kevin Edwards taught me to play drums in school and my grandad introduced me to his organ when I was a kid. That sounds a bit wrong. He was a lovely man. The organ, not his organ. All of the software, equipment and techniques I use have been learned through spending time experimenting. I tend to consult manuals if I'm really struggling and usually prefer to get stuck in to see what happens. I own one book by Rick Snoman called Dance Music Manual: Tools, Toys, and Techniques. I intended to read it when I got it but I haven't yet. I recommend that you do. I'm quite impatient so I'd rather get straight into making music than read about making music. I'm sure I'd learn a lot if I spent more time studying production and the processes involved in making music but I seem to be driven more towards the emotional and spiritual side of expression through music. It's been a constant aspect of my life and I use it to create environments that provide me with an alternative to whatever's going on in my day-to-day life.

What hardware are you using?

I currently have an MPC2000XL, a MOTU 828 mkII, a Roland MC-303, a Roland TR-606, a Nord Rack 2, a Roland D-110 LA Synth rack and a Kawai K1. I prefer racks as they take up less space. The Nord sounds amazing. The other two synths are new to me so I can't tell you what I like most about them. The D-110 seems a bit difficult to program, so I reckon I'll have to consult the manual. The 303 was the first piece of kit I ever got when I was about 14. To this day I love step-programming drums. The limitations came when I wanted to sample other sounds to build rhythms, but for anyone who enjoys beats, I'd recommend the MC-303 as a good, well-priced starting point. The MPC is amazing for building drums and tracks. I find that the interface abstracts the process of producing music more so than, say, a 303, which uses a piano-like input of 16 keys. The MPC's just got a square of small, rubbery grey squares. It's very tactile which encourages you to literally bang out the beats. Each pad is large enough for you to be quite loose with your technique. The pads are velocity sensitive, the quantize is fun to use and the note repeat function opens up rhythms you might not necessarily go straight to, at the push of a button. Depending on which OS you're using, the process of sampling and slicing and assigning can seem laborious in comparison to some software samplers, but it's worth it. It has audio outs too, which is nice.

What software are you using?

I use Logic 5.5 on a PC. I use Battery, Albino, Absynth, PPG Wave 2, Luxonix LFX-1310, and a few others. If I'm not using the MPC when I'm sampling, I manipulate samples in Logic's EXS24. I love how easy it easy to drop a .rex2 file in and play around with slices of sound. Yeah, I forgot that one, I use ReCycle 2.0. And Sound Forge 8. I've used software for a few years but want to explore hardware more and more. There is a definite difference in the sound of the soft-synths I use and the hardware I've used, but the main reason I'm making the shift is because of the interaction aspect of hardware. It's tactile. And it's something I'd like to learn more about.

What would be your dream setup?

I can do everything I want to with the setup I have. If it was on the top floor of a skyscraper in New York or in some Amazonian tree house then yeah, dream setup.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I usually start with a beat. Or a sample. Then everything comes from there. I'll usually arrange at the end. Sometimes on the fly. I'm a firm believer that music, or expression, is something which is valid as soon as it's acted out. Structure and arrangement are important if what you're trying to achieve is structure and arrangement. If the act of expression is your primary focus then anything you express is essentially accomplishment. If what you create stimulates your own mind and arouses positive feelings and emotions then I think it's important to focus on those feelings. You might not end up finishing tracks but you'll have some great sources of inspiration to revisit. You might feel that they're complete when others don't feel the same. In that case, follow your instinct.

Where do you shop for and discover music?

Piccadilly Records, King Bee, Wowie Zowie, Vinyl Exchange, E-Bloc, Boomkat - these are all on my doorstep and all offer a wide variety of old and new music. I also use Discogs, probably too much but definitely never enough!

Any highlights from your latest musical discoveries?

I've been getting into New Breed of Hustlas lately. Some 90's I missed out on when my step-sister and her mates were into G-Funk but enjoying now. I've got a few of Dexter Wansel's records but have started to explore his work in more depth. Heavy vibes.

What's brewing in your studio?

A storm. Tea. IPA. Dunno really. I've got some new gear that I want to learn. I recently moved so there's stuff everywhere. I installed some pretty ropey shelves on Friday, so now I've got somewhere to put my decks and equipment. We'll see what happens next. As for music, there's plenty of old tracks on my SoundCloud page [see link below], but for everyone who hasn't listened yet they'll be brand new. The new new will be out on my label in the next month or so... or so... or so... (repeat to fade).

Any production tips & tricks you'd like to share?

Don't compromise what you feel strongly about. If the music you make doesn't appeal to a certain label or listener don't let it get you down. The world's full of people. Some of those people will find what you do as exciting as you do. The fun part is finding how to reach them and share your sounds. Don't be put off by people talking about how the music industry is dead and there's no point starting a label. If you believe in what you do, stay true, follow it through and make it work. ]]>

Who are you and what do you do? How long have you been a working musician?

Hello, my name is Garth Be and I do many things as well as produce music. I record under the name BE, which makes finding my music online a lot of fun. I've been experimenting with sound for as long as I can remember and I absolutely love it. I've released tracks with Still Music, Wolf Music, Prime Numbers, Neroli and Development. I have a release scheduled for the 1st of April on Huddtraxx.

What is your educational background? Are there any schools, courses, or books you recommend?

I'm mainly self taught. Kevin Edwards taught me to play drums in school and my grandad introduced me to his organ when I was a kid. That sounds a bit wrong. He was a lovely man. The organ, not his organ. All of the software, equipment and techniques I use have been learned through spending time experimenting. I tend to consult manuals if I'm really struggling and usually prefer to get stuck in to see what happens. I own one book by Rick Snoman called Dance Music Manual: Tools, Toys, and Techniques. I intended to read it when I got it but I haven't yet. I recommend that you do. I'm quite impatient so I'd rather get straight into making music than read about making music. I'm sure I'd learn a lot if I spent more time studying production and the processes involved in making music but I seem to be driven more towards the emotional and spiritual side of expression through music. It's been a constant aspect of my life and I use it to create environments that provide me with an alternative to whatever's going on in my day-to-day life.

What hardware are you using?

I currently have an MPC2000XL, a MOTU 828 mkII, a Roland MC-303, a Roland TR-606, a Nord Rack 2, a Roland D-110 LA Synth rack and a Kawai K1. I prefer racks as they take up less space. The Nord sounds amazing. The other two synths are new to me so I can't tell you what I like most about them. The D-110 seems a bit difficult to program, so I reckon I'll have to consult the manual. The 303 was the first piece of kit I ever got when I was about 14. To this day I love step-programming drums. The limitations came when I wanted to sample other sounds to build rhythms, but for anyone who enjoys beats, I'd recommend the MC-303 as a good, well-priced starting point. The MPC is amazing for building drums and tracks. I find that the interface abstracts the process of producing music more so than, say, a 303, which uses a piano-like input of 16 keys. The MPC's just got a square of small, rubbery grey squares. It's very tactile which encourages you to literally bang out the beats. Each pad is large enough for you to be quite loose with your technique. The pads are velocity sensitive, the quantize is fun to use and the note repeat function opens up rhythms you might not necessarily go straight to, at the push of a button. Depending on which OS you're using, the process of sampling and slicing and assigning can seem laborious in comparison to some software samplers, but it's worth it. It has audio outs too, which is nice.

What software are you using?

I use Logic 5.5 on a PC. I use Battery, Albino, Absynth, PPG Wave 2, Luxonix LFX-1310, and a few others. If I'm not using the MPC when I'm sampling, I manipulate samples in Logic's EXS24. I love how easy it easy to drop a .rex2 file in and play around with slices of sound. Yeah, I forgot that one, I use ReCycle 2.0. And Sound Forge 8. I've used software for a few years but want to explore hardware more and more. There is a definite difference in the sound of the soft-synths I use and the hardware I've used, but the main reason I'm making the shift is because of the interaction aspect of hardware. It's tactile. And it's something I'd like to learn more about.

What would be your dream setup?

I can do everything I want to with the setup I have. If it was on the top floor of a skyscraper in New York or in some Amazonian tree house then yeah, dream setup.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I usually start with a beat. Or a sample. Then everything comes from there. I'll usually arrange at the end. Sometimes on the fly. I'm a firm believer that music, or expression, is something which is valid as soon as it's acted out. Structure and arrangement are important if what you're trying to achieve is structure and arrangement. If the act of expression is your primary focus then anything you express is essentially accomplishment. If what you create stimulates your own mind and arouses positive feelings and emotions then I think it's important to focus on those feelings. You might not end up finishing tracks but you'll have some great sources of inspiration to revisit. You might feel that they're complete when others don't feel the same. In that case, follow your instinct.

Where do you shop for and discover music?

Piccadilly Records, King Bee, Wowie Zowie, Vinyl Exchange, E-Bloc, Boomkat - these are all on my doorstep and all offer a wide variety of old and new music. I also use Discogs, probably too much but definitely never enough!

Any highlights from your latest musical discoveries?

I've been getting into New Breed of Hustlas lately. Some 90's I missed out on when my step-sister and her mates were into G-Funk but enjoying now. I've got a few of Dexter Wansel's records but have started to explore his work in more depth. Heavy vibes.

What's brewing in your studio?

A storm. Tea. IPA. Dunno really. I've got some new gear that I want to learn. I recently moved so there's stuff everywhere. I installed some pretty ropey shelves on Friday, so now I've got somewhere to put my decks and equipment. We'll see what happens next. As for music, there's plenty of old tracks on my SoundCloud page [see link below], but for everyone who hasn't listened yet they'll be brand new. The new new will be out on my label in the next month or so... or so... or so... (repeat to fade).

Any production tips & tricks you'd like to share?

Don't compromise what you feel strongly about. If the music you make doesn't appeal to a certain label or listener don't let it get you down. The world's full of people. Some of those people will find what you do as exciting as you do. The fun part is finding how to reach them and share your sounds. Don't be put off by people talking about how the music industry is dead and there's no point starting a label. If you believe in what you do, stay true, follow it through and make it work. ]]> Sid Le Rock http://www.theymakemusic.com/interviews/sid-le-rock/ Sat, 11 May 2013 02:29:55 +0000 http://www.theymakemusic.com/?p=241

Who are you and what do you do? How long have you been a working musician?

Hello, I'm Sid Le Rock and I've been producing music since 1998.

What is your educational background? Are there any schools, courses, or books you recommend?

I have an educational background in Music Engineering & Music Management from Harris Institute in Toronto, Canada.

What hardware are you using?

For the album, I used my MicroKorg to create some of the bass lines and arpeggiated synths . Great, simple to function digital keyboard with an analogue sound to it. As they were only collecting dust, I convinced my friend to allow me to make use of his JUNO-106 and Poly-800 synthesizers for creating lush pads and layered sound scapes. All combined, they were all the extra ingredients I needed to add warmth for the end product. For multi sequencing & effect sends assignments, Akai's MPD24 was an essential piece in my studio for real time control. Both Digitech's Vocal 300 & Korg's Kaoss Pad were amazing pieces for my vocal tracks. With its multi effects, the Vocal 300 was what helped most by adding depth & warmth to my voice. A fantastic part of my gear collection for the studio or on tour, as it can be placed on the floor when space isn't available. Finally, the Mackie 1402-VLZ Pro Mixer combined with my Genelec 8030a Nearfield Speakers & the Yamaha HS10W subwoofers, all gave me the quality & clarity of sound that I most depend on.

What software are you using?

Mainly I used Ableton 8 for building & arranging the tracks. Then I exported all my stem works to Logic for pre-master mix down. Waves Diamond Bundle played an immense role in shaping its quality of sound.

What would be your dream setup?

A while back, my studio was broken into on two separate occasions. Meaningful to my early beginnings in producing music, I would simply love to replace what was once painfully taken from me. So with that, I would have to say that my dream set up would have to be my old Oberheim Matrix 12 and Sequential Circuits Prophet 5. But most importantly, the Yamaha AN1x which my father had bought for me as my first keyboard.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Usually my best time for creativity is in the evening, when everything slows down. But as of late, I've conditioned myself to working days where I turn off all social interruptions. There's no struggle with keeping routine. Only problem I face is finding a routine with the creative process.

Where do you shop for and discover music?

Usually I find that I'm most open to discovering music when I'm out gigging at some club. Other times when friends recommend something or as an A & R for my label, Beachcoma Recordings.

Any highlights from your latest musical discoveries?

There are a lot of amazing discoveries just waiting to be heard. Particularly now, I'm personally pleased with how musicians today are incorporating all forms of musical medium, genres and new technologies. A great example of this comes from My Favorite Robots label mate & pal, Fairmont. As we both worked under the same roof while completing our own albums, I picked up some useful studio techniques from him. Apart from that, I mainly draw my inspiration from indie music. Bands like Ween that experimented with overdubs and 4 track home recordings, to the simple but extremely effective music produced by AC/DC.

What's brewing in your studio?

Now that I've completed my Sid Le Rock album, "Busted With a Bag of Bliss", I'm left with a feeling of post album depression. As relieved as I was when I finished it, I kinda miss the ups & downs of working on a big creative project. Like an old man that was forced into retirement...sort of ;) But, I do enjoy the time away to contemplate on my next future creations.

Any production tips & tricks you'd like to share?

Sound proofing your studio can make you insane. Just get to know what you're using, and use it well. Your ears will help you navigate through the rest for a satisfactory result. ]]>

Who are you and what do you do? How long have you been a working musician?

Hello, I'm Sid Le Rock and I've been producing music since 1998.

What is your educational background? Are there any schools, courses, or books you recommend?

I have an educational background in Music Engineering & Music Management from Harris Institute in Toronto, Canada.

What hardware are you using?

For the album, I used my MicroKorg to create some of the bass lines and arpeggiated synths . Great, simple to function digital keyboard with an analogue sound to it. As they were only collecting dust, I convinced my friend to allow me to make use of his JUNO-106 and Poly-800 synthesizers for creating lush pads and layered sound scapes. All combined, they were all the extra ingredients I needed to add warmth for the end product. For multi sequencing & effect sends assignments, Akai's MPD24 was an essential piece in my studio for real time control. Both Digitech's Vocal 300 & Korg's Kaoss Pad were amazing pieces for my vocal tracks. With its multi effects, the Vocal 300 was what helped most by adding depth & warmth to my voice. A fantastic part of my gear collection for the studio or on tour, as it can be placed on the floor when space isn't available. Finally, the Mackie 1402-VLZ Pro Mixer combined with my Genelec 8030a Nearfield Speakers & the Yamaha HS10W subwoofers, all gave me the quality & clarity of sound that I most depend on.

What software are you using?

Mainly I used Ableton 8 for building & arranging the tracks. Then I exported all my stem works to Logic for pre-master mix down. Waves Diamond Bundle played an immense role in shaping its quality of sound.

What would be your dream setup?

A while back, my studio was broken into on two separate occasions. Meaningful to my early beginnings in producing music, I would simply love to replace what was once painfully taken from me. So with that, I would have to say that my dream set up would have to be my old Oberheim Matrix 12 and Sequential Circuits Prophet 5. But most importantly, the Yamaha AN1x which my father had bought for me as my first keyboard.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

Usually my best time for creativity is in the evening, when everything slows down. But as of late, I've conditioned myself to working days where I turn off all social interruptions. There's no struggle with keeping routine. Only problem I face is finding a routine with the creative process.

Where do you shop for and discover music?

Usually I find that I'm most open to discovering music when I'm out gigging at some club. Other times when friends recommend something or as an A & R for my label, Beachcoma Recordings.

Any highlights from your latest musical discoveries?

There are a lot of amazing discoveries just waiting to be heard. Particularly now, I'm personally pleased with how musicians today are incorporating all forms of musical medium, genres and new technologies. A great example of this comes from My Favorite Robots label mate & pal, Fairmont. As we both worked under the same roof while completing our own albums, I picked up some useful studio techniques from him. Apart from that, I mainly draw my inspiration from indie music. Bands like Ween that experimented with overdubs and 4 track home recordings, to the simple but extremely effective music produced by AC/DC.

What's brewing in your studio?

Now that I've completed my Sid Le Rock album, "Busted With a Bag of Bliss", I'm left with a feeling of post album depression. As relieved as I was when I finished it, I kinda miss the ups & downs of working on a big creative project. Like an old man that was forced into retirement...sort of ;) But, I do enjoy the time away to contemplate on my next future creations.

Any production tips & tricks you'd like to share?

Sound proofing your studio can make you insane. Just get to know what you're using, and use it well. Your ears will help you navigate through the rest for a satisfactory result. ]]> Xinobi http://www.theymakemusic.com/interviews/xinobi/ Thu, 25 Apr 2013 13:00:54 +0000 http://www.theymakemusic.com/?p=240

Who are you and what do you do? How long have you been a working musician?

Hey, I'm Bruno, I'm mostly a musician and a record label manager. I've been doing this for about 8 years now, when I stopped looking for a more "regular" job.

What is your educational background? Are there any schools, courses, or books you recommend?

I've studied Fine Arts in Lisbon. I wouldn't recommend the University I've attended because, as far as I know, it's been losing more and more its credit. However, I must I recommend to try and make a career on one you do like to do the most. Fulfill your dreams should be the goal of your life. Make sure you don't disappoint your own. Books, so many. I used to read more. Foucault, Paul Virilio, Gilles Lipovetsk. Some changed my perspective on life, such as Guy Debord's "Society of the Spectacle”. I have to start reading compulsively again.

What hardware are you using?

As hardware instruments I mostly use guitars and bass guitars. I might steal some synth from Moullinex, with whom I share the studio, but please don't tell him. We have this really nice Frontliner pre-amp through where we record most of instruments and vocals. It really makes guitars and vocals sound amazing. Also, this Moog 10 band graphic equalizer can give your soft-synth lines the real analog edge that’s so hard to get producing only in the box.

What software are you using?

Ableton Live is now my main DAW. I use it with some Arturia soft-synths and u-he Ace. My favorite soft synth is Arturia’s Moog Modular. It has outstanding sound results and endless options. It might be tricky to use sometimes but there are some really nice presets to start with. You can go from super low bass sound to really high freqs. I also color and crisp my sound with the help of SoundToys and PSP Audioware plugins such as the Vintage Warmer. In the past I was a Propellerhead Reason freak but nowadays I'm using Reason only to do some beats. I still find it superb for drum creativity with Redrum and Kong. I might explore Reason again with this new version that finally supports external-midi and because I miss a lot its arpeggiator. I love FabFilter equalizer. It’s a top notch platform to do EQ surgery. You can go really picky on EQ with this one.

What is your favorite or most essential piece in your studio?

A Gibson SG that appears flying in my last video clip. That’s the way I take care of my most essential and important instrument. I also can’t live without my Urbanears Zinken headphones. Or the Sennheiser HD25. Still deciding which ones I like most.

What would be your dream setup?

I think I never thought about a dream setup. I used to have a big desire for guitars. If I could pick some guitars I would love to have, I would get something like twenty. One thing I would love: A free-of-cable studio. Everything should be Wi-Fi-ish. Yes, this would be part of my dream setup for sure.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I normally work at night. I believe most of my best ideas were born in a period from midnight to 2 a.m. And they have to be developed right after so it’s really normal to only get to bed at 6 a.m. I normally start with some simple guitar riff even if in the end I throw it away. Guitar is the instrument I play the best, so... After that, there's a little bit of random-ish actions till I find something I like enough to go through and try to work it as a track. Normally I add a kick, a snare and create a bass line. Routine might be good to discipline your work but it can also castrate your creative process.

Where do you shop for and discover music?

SoundCloud has become one of my first places to go and find new music. I also spend a lot of time and money on Beatport. I mainly buy Vinyl records and Mp3/Wav. I kind of gave up on the CD thing. Vinyl I like to buy in local stores. I might get some online too, through platforms such as discogs.com, juno.co.uk or Ebay. But nothing beats the feeling of hunting a record shop in a “new town”. It’s mandatory for me. I think I could plan a vacation based on record shops to visit.

Any highlights from your latest musical discoveries?

I’m going through this phase of finding 70’s rock that my father doesn’t know. So I can introduce him to it. It’s like a return gift for introducing me to a lot of music. I’ve been listening a lot to the Gandalf self titled LP, and “Caronte” by The Trip.

What's brewing in your studio?

Actually, Moullinex and I are in the process of changing for a new room. The pictures I took are from our new studio that is still to be completed and fully-working. But the last big thing we worked was our interpretation of “The Tempest”, a semi-opera by Purcell based on Shakespeare’s book with the same name. It was made for a play with all these great actors and five amazing singers. We’re presenting it in Paris in early April after a successful premiere in Lisbon.

Any production tips & tricks you'd like to share?

Trust your heart and ears. It's the best way to achieve uniqueness. Spend a lot of time trying to figure out how to do something before googling about it. Being clueless is the best way to start something. Protect your hearing if you play loud live – because, ears are the most important thing here. Oberheim DMX snare is an incredible power-giver to any dance-music gem. It can phat your track up either if you're doing hard or soft music. Try to do a track without using any compression in any track or bus. So great. “LOUD” can be cool, but can also be annoying. Everything is getting too loud nowadays.]]>

Who are you and what do you do? How long have you been a working musician?

Hey, I'm Bruno, I'm mostly a musician and a record label manager. I've been doing this for about 8 years now, when I stopped looking for a more "regular" job.

What is your educational background? Are there any schools, courses, or books you recommend?

I've studied Fine Arts in Lisbon. I wouldn't recommend the University I've attended because, as far as I know, it's been losing more and more its credit. However, I must I recommend to try and make a career on one you do like to do the most. Fulfill your dreams should be the goal of your life. Make sure you don't disappoint your own. Books, so many. I used to read more. Foucault, Paul Virilio, Gilles Lipovetsk. Some changed my perspective on life, such as Guy Debord's "Society of the Spectacle”. I have to start reading compulsively again.

What hardware are you using?

As hardware instruments I mostly use guitars and bass guitars. I might steal some synth from Moullinex, with whom I share the studio, but please don't tell him. We have this really nice Frontliner pre-amp through where we record most of instruments and vocals. It really makes guitars and vocals sound amazing. Also, this Moog 10 band graphic equalizer can give your soft-synth lines the real analog edge that’s so hard to get producing only in the box.

What software are you using?

Ableton Live is now my main DAW. I use it with some Arturia soft-synths and u-he Ace. My favorite soft synth is Arturia’s Moog Modular. It has outstanding sound results and endless options. It might be tricky to use sometimes but there are some really nice presets to start with. You can go from super low bass sound to really high freqs. I also color and crisp my sound with the help of SoundToys and PSP Audioware plugins such as the Vintage Warmer. In the past I was a Propellerhead Reason freak but nowadays I'm using Reason only to do some beats. I still find it superb for drum creativity with Redrum and Kong. I might explore Reason again with this new version that finally supports external-midi and because I miss a lot its arpeggiator. I love FabFilter equalizer. It’s a top notch platform to do EQ surgery. You can go really picky on EQ with this one.

What is your favorite or most essential piece in your studio?

A Gibson SG that appears flying in my last video clip. That’s the way I take care of my most essential and important instrument. I also can’t live without my Urbanears Zinken headphones. Or the Sennheiser HD25. Still deciding which ones I like most.

What would be your dream setup?

I think I never thought about a dream setup. I used to have a big desire for guitars. If I could pick some guitars I would love to have, I would get something like twenty. One thing I would love: A free-of-cable studio. Everything should be Wi-Fi-ish. Yes, this would be part of my dream setup for sure.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

I normally work at night. I believe most of my best ideas were born in a period from midnight to 2 a.m. And they have to be developed right after so it’s really normal to only get to bed at 6 a.m. I normally start with some simple guitar riff even if in the end I throw it away. Guitar is the instrument I play the best, so... After that, there's a little bit of random-ish actions till I find something I like enough to go through and try to work it as a track. Normally I add a kick, a snare and create a bass line. Routine might be good to discipline your work but it can also castrate your creative process.

Where do you shop for and discover music?

SoundCloud has become one of my first places to go and find new music. I also spend a lot of time and money on Beatport. I mainly buy Vinyl records and Mp3/Wav. I kind of gave up on the CD thing. Vinyl I like to buy in local stores. I might get some online too, through platforms such as discogs.com, juno.co.uk or Ebay. But nothing beats the feeling of hunting a record shop in a “new town”. It’s mandatory for me. I think I could plan a vacation based on record shops to visit.

Any highlights from your latest musical discoveries?

I’m going through this phase of finding 70’s rock that my father doesn’t know. So I can introduce him to it. It’s like a return gift for introducing me to a lot of music. I’ve been listening a lot to the Gandalf self titled LP, and “Caronte” by The Trip.

What's brewing in your studio?

Actually, Moullinex and I are in the process of changing for a new room. The pictures I took are from our new studio that is still to be completed and fully-working. But the last big thing we worked was our interpretation of “The Tempest”, a semi-opera by Purcell based on Shakespeare’s book with the same name. It was made for a play with all these great actors and five amazing singers. We’re presenting it in Paris in early April after a successful premiere in Lisbon.

Any production tips & tricks you'd like to share?

Trust your heart and ears. It's the best way to achieve uniqueness. Spend a lot of time trying to figure out how to do something before googling about it. Being clueless is the best way to start something. Protect your hearing if you play loud live – because, ears are the most important thing here. Oberheim DMX snare is an incredible power-giver to any dance-music gem. It can phat your track up either if you're doing hard or soft music. Try to do a track without using any compression in any track or bus. So great. “LOUD” can be cool, but can also be annoying. Everything is getting too loud nowadays.]]> Cosmic Kids http://www.theymakemusic.com/interviews/cosmic-kids/ Mon, 22 Apr 2013 03:20:27 +0000 http://www.theymakemusic.com/?p=239

Who are you and what do you do? How long have you been working musicians?

We are Cosmic Kids. We've been best friends since high school, and we have been making music for the past 3 or 4 years; DJing for a bit more.

What is your educational background? Are there any schools, courses, or books you recommend?

Ron: We both have a varied background. I have a degree in Political Science and very little music training from school. Currently I am applying for a master's in Human Factors, it's like design and psychology. I did take a group piano class at a community college recently, I sort of got what I needed from there and got out. I think it is beneficial to have knowledge in something completely different than music. It can add to it in ways you would not even expect. Dan: I went to film school and got a BA in film and television production. Still do some post-production work on the side. I recommend that everyone take Mr. Fouts' astronomy course at Santa Monica College.

What hardware are you using?

We have a modest amount of hardware, but I think it's fun being limited. We have a JUNO 6, Korg Monotribe, Korg microKONTROL, various effects devices, Macintosh laptops, and an iPad. Ron: I like tinkering with hardware, and I like using my hands. I don't necessarily have a set idea on what I am trying to do; I just find a sound that I like, and sometimes I'll just give it to Dan and he will do wonders with it. The iPad is nice too because it allows me to manipulate things with my hands in an unorthodox fashion. For example, this app called Samplr allows you to manipulate pitch and linear movement in real time and record it. The aleatoric aspect of this can yield some interesting results.

What software are you using?

Dan: We use Logic Pro. I don't really know the inner workings of any other software because I've never taken the time to learn anything else. I feel like we are able to accomplish everything we want in there. It's definitely the most essential musical tool we own because I personally have never learned how to put music together without it, so I'd be lost for a bit if Logic disappeared from my life. We are big fans of SoundToys. We use Echo Boy, Filter Freak, and Pan Man in pretty much every track. Soundtoys are great because they really help give character to otherwise stale/dry sounds. I've been using a Korg Mono/Poly emulator, NI's FM8, and u-he's Ace. I just find that those have a lot of the types of sounds that I personally like. It would be super cool to have a real Mono/Poly, but right now I'm cool with the emulator. It's pretty efficient and I can stay pretty organized with it. Ron's been messing around with a DX7 emulator and some sampler software on his iPad and we've been getting some cool sounds from that as well.

What would be your dream setup?

Dan: Honestly, at this point, my dream set up would be in an actual studio, and not my apartment room. I've had neighbors get irritated with the noise a few too many times. I also want to get to a point where I'm more technically skilled with hardware, and as a musician. I feel like I'm still just figuring everything out as I go. As I said, an actual Mono/Poly would be great. I've also had fun messing around with a Roland SH-101; one of those would be cool too. It would also be great to have a session drummer and a guy who knows how to record drums like it was 1977 on staff. It would also be cool if they could read my mind. Ron: I remember when I was little my dad would play this cassette by new age artist Ray Lynch. The sounds were so weird to me, I just imagined all these smooth, white instruments making the sounds, like if Dieter Rams from Braun designed it. I guess that would visually be my dream setup, but I'm not sure how it would sound.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

It's definitely essential that we have a piece of musical inspiration to start us off. It's very difficult for us to start with nothing. That's what is great about doing a remix because there is already an idea there. If we are working on an original, we usually start off with a sample from an old record. Sometimes we may end up ditching the sample that sparked the track in the first place, but it's important for us to have something to work off of. We usually always lay down drums and bass first. We are, after all, making dance music, so it's important for us to establish a danceable groove before moving on to the melody. After that it's pretty much just trial an error until we find the melodies and sounds we like.

Where do you shop for and discover music?

Amoeba Music is really close to us, so we are there a lot. There are some other great little shops in and around Los Angeles that we love digging at. We also have a vast network of friends that like to share new and old music through Facebook and AIM.

Any highlights from your latest musical discoveries?

There is this Jose Marquez remix of "La Mezcla" by Totó La Momposina on Basic Finger Records that is amazing to play out. People always respond so well to it. I'm surprised it's not a bigger hit.

What's brewing in your studio?

We have an EP coming out this month on Let's Play House. The A-side track was a collaboration with Fingerpaint (Tyler from Classixx). It was pretty fun to get his input and guidance throughout the process of making the song.

Any production tips & tricks you'd like to share?

I find it really valuable and fun for us to try and recreate parts of tracks we are stumped by. You end up accidentally finding unique sounds of your own in the process.]]>

Who are you and what do you do? How long have you been working musicians?

We are Cosmic Kids. We've been best friends since high school, and we have been making music for the past 3 or 4 years; DJing for a bit more.

What is your educational background? Are there any schools, courses, or books you recommend?

Ron: We both have a varied background. I have a degree in Political Science and very little music training from school. Currently I am applying for a master's in Human Factors, it's like design and psychology. I did take a group piano class at a community college recently, I sort of got what I needed from there and got out. I think it is beneficial to have knowledge in something completely different than music. It can add to it in ways you would not even expect. Dan: I went to film school and got a BA in film and television production. Still do some post-production work on the side. I recommend that everyone take Mr. Fouts' astronomy course at Santa Monica College.

What hardware are you using?

We have a modest amount of hardware, but I think it's fun being limited. We have a JUNO 6, Korg Monotribe, Korg microKONTROL, various effects devices, Macintosh laptops, and an iPad. Ron: I like tinkering with hardware, and I like using my hands. I don't necessarily have a set idea on what I am trying to do; I just find a sound that I like, and sometimes I'll just give it to Dan and he will do wonders with it. The iPad is nice too because it allows me to manipulate things with my hands in an unorthodox fashion. For example, this app called Samplr allows you to manipulate pitch and linear movement in real time and record it. The aleatoric aspect of this can yield some interesting results.

What software are you using?

Dan: We use Logic Pro. I don't really know the inner workings of any other software because I've never taken the time to learn anything else. I feel like we are able to accomplish everything we want in there. It's definitely the most essential musical tool we own because I personally have never learned how to put music together without it, so I'd be lost for a bit if Logic disappeared from my life. We are big fans of SoundToys. We use Echo Boy, Filter Freak, and Pan Man in pretty much every track. Soundtoys are great because they really help give character to otherwise stale/dry sounds. I've been using a Korg Mono/Poly emulator, NI's FM8, and u-he's Ace. I just find that those have a lot of the types of sounds that I personally like. It would be super cool to have a real Mono/Poly, but right now I'm cool with the emulator. It's pretty efficient and I can stay pretty organized with it. Ron's been messing around with a DX7 emulator and some sampler software on his iPad and we've been getting some cool sounds from that as well.

What would be your dream setup?

Dan: Honestly, at this point, my dream set up would be in an actual studio, and not my apartment room. I've had neighbors get irritated with the noise a few too many times. I also want to get to a point where I'm more technically skilled with hardware, and as a musician. I feel like I'm still just figuring everything out as I go. As I said, an actual Mono/Poly would be great. I've also had fun messing around with a Roland SH-101; one of those would be cool too. It would also be great to have a session drummer and a guy who knows how to record drums like it was 1977 on staff. It would also be cool if they could read my mind. Ron: I remember when I was little my dad would play this cassette by new age artist Ray Lynch. The sounds were so weird to me, I just imagined all these smooth, white instruments making the sounds, like if Dieter Rams from Braun designed it. I guess that would visually be my dream setup, but I'm not sure how it would sound.

Can you describe your creative process? Is there a particular routine or schedule you stick to?

It's definitely essential that we have a piece of musical inspiration to start us off. It's very difficult for us to start with nothing. That's what is great about doing a remix because there is already an idea there. If we are working on an original, we usually start off with a sample from an old record. Sometimes we may end up ditching the sample that sparked the track in the first place, but it's important for us to have something to work off of. We usually always lay down drums and bass first. We are, after all, making dance music, so it's important for us to establish a danceable groove before moving on to the melody. After that it's pretty much just trial an error until we find the melodies and sounds we like.

Where do you shop for and discover music?

Amoeba Music is really close to us, so we are there a lot. There are some other great little shops in and around Los Angeles that we love digging at. We also have a vast network of friends that like to share new and old music through Facebook and AIM.

Any highlights from your latest musical discoveries?

There is this Jose Marquez remix of "La Mezcla" by Totó La Momposina on Basic Finger Records that is amazing to play out. People always respond so well to it. I'm surprised it's not a bigger hit.

What's brewing in your studio?

We have an EP coming out this month on Let's Play House. The A-side track was a collaboration with Fingerpaint (Tyler from Classixx). It was pretty fun to get his input and guidance throughout the process of making the song.

Any production tips & tricks you'd like to share?

I find it really valuable and fun for us to try and recreate parts of tracks we are stumped by. You end up accidentally finding unique sounds of your own in the process.]]> Random Soul http://www.theymakemusic.com/interviews/random-soul/ Wed, 20 Mar 2013 04:56:32 +0000 http://www.theymakemusic.com/?p=237

Who are you and what do you do? How long have you been a working musician?

We are Yogi & Husky, also known as Random Soul. H – Hi, I’m Husky, DJ & Producer. I have been DJ’ing since 2001, and producing since 2007. I would still not classify myself as a musician, however I have been professionally DJ’ing since 2005. Y – Hey I’m Yogi and I am a DJ, Producer, Engineer and multi-instrumentalist. My first paid gig was when I was 15 in a covers band playing bass. From there I started doing musical theatre, singing and playing keyboards in bands too. Then went on to discover DJ’ing.

What is your educational background? Are there any schools, courses, or books you recommend?

Y - I studied piano when I was 8 or 9, doing a few classical grades. Also, I had a few vocal production lessons out of high school, after I discovered I actually had a voice. I also started a Bachelor of Arts (Music) at university that I have yet to complete. H – I have a bachelor of Business from the University Of Technology in Sydney. Not really music related, however I am glad to be able to use my business skills for the running of our record label and various other solo projects and companies.

What hardware are you using?

Y - Computer is a Mac Pro 2 x 2.66 GHz Dual-Core with 16 GB RAM, Soundcard is Avid’s Digi 002 and a TC Electronic PowerCore for extra DSP power. My outboard gear includes a Dangerous D-Box Summing Mixer, SSL G Series Compressor, Abbey Road Custom Edition, TL Audio 5052 Stereo Valve Processor, 2 x Focusrite Platinum Voicemaster Pro’s. Microphones are a Rode NT-2 and NT-3. My monitors Yamaha NS10’s with a Yamaha Subwoofer. But I also use a pair of Genelec 1029A’s and various consumer speakers when I’m mixing down. H – Mbox Mini and my Mac Pro from 2007, Plus a Novation Impulse keyboard. My dope Mackie HR824’s help to round out the studio.

What software are you using?

H – We are both on Pro Tools software with numerous plug-ins for synths and also compression, EQ and mastering tools. What we have chosen is what keeps our sound up there with the best. Unfortunately, a lot of this software and plugs are rather expensive, however we feel the money spent on studio gear always equates to a quality product when produced by professionals.

What is your favorite or most essential piece in your studio?

Y - Definitely the D-Box Summing Mixer. I was monitoring through the analog outs of the Digi002 for years. Then once I switched to monitoring through the digital out of the Digi002 through the D-Box D/A, my mix downs came to life. Along with the jump to class-a summing it’s given us a big desk sound with the efficiency and recallable mix from working in the box.

What would be your dream setup?

H – My dream set up would basically just involve a big open studio with loads of outboard synths to flick through sounds and patch them back into my rig. At the moment it’s all software for my studio, and I would love to expand to a private space where I can indulge in building my stock of sound banks!

Can you describe your creative process? Is there a particular routine or schedule you stick to?

H – We generally start tunes together with some basic loops and musical ideas put down by Yogi. Then I’ll take them away and work on the form of the song, adding loops, drums, and more instruments to create a track that closer resembles a finished piece. Then it’s back to Yogi’s to tie up any loose ends musically and then he mixes the tracks and cleans up all the levels and processing. This system seems to keep the workflow going pretty well for us and usually means we can pump things out in a shorter period of time and also have a few projects on the go.

Where do you shop for and discover music?

Y - Traxsource, Beatport & Stompy mainly. But also iTunes and CD stores. H – My main shopping sites are Traxsource, Beatport, Stompy and Juno Download. I also enjoy hitting record stores when traveling, however that is usually for records to listen to more than play these days.

Any highlights from your latest musical discoveries?

H – The last Commodores album I bought was dope. And an old Evelyn ‘Champagne’ King LP. Y - I am thoroughly enjoying the latest Kimbra album. Along with the latest from Frank Ocean and John Mayer.

What's brewing in your studio?

Y - At the moment it is just preparing the next lot of singles from our debut album, "Live For The Moment", final mix downs and mastering. So coming out straight after WMC is our jam with Joshua Heath called “Time To Funk”. Remixes from Jay Vegas, Joshua Heath and ourselves.

Any production tips & tricks you'd like to share?

Y - Listen, have fun, experiment and explore your music.]]>

Who are you and what do you do? How long have you been a working musician?

We are Yogi & Husky, also known as Random Soul. H – Hi, I’m Husky, DJ & Producer. I have been DJ’ing since 2001, and producing since 2007. I would still not classify myself as a musician, however I have been professionally DJ’ing since 2005. Y – Hey I’m Yogi and I am a DJ, Producer, Engineer and multi-instrumentalist. My first paid gig was when I was 15 in a covers band playing bass. From there I started doing musical theatre, singing and playing keyboards in bands too. Then went on to discover DJ’ing.

What is your educational background? Are there any schools, courses, or books you recommend?

Y - I studied piano when I was 8 or 9, doing a few classical grades. Also, I had a few vocal production lessons out of high school, after I discovered I actually had a voice. I also started a Bachelor of Arts (Music) at university that I have yet to complete. H – I have a bachelor of Business from the University Of Technology in Sydney. Not really music related, however I am glad to be able to use my business skills for the running of our record label and various other solo projects and companies.

What hardware are you using?

Y - Computer is a Mac Pro 2 x 2.66 GHz Dual-Core with 16 GB RAM, Soundcard is Avid’s Digi 002 and a TC Electronic PowerCore for extra DSP power. My outboard gear includes a Dangerous D-Box Summing Mixer, SSL G Series Compressor, Abbey Road Custom Edition, TL Audio 5052 Stereo Valve Processor, 2 x Focusrite Platinum Voicemaster Pro’s. Microphones are a Rode NT-2 and NT-3. My monitors Yamaha NS10’s with a Yamaha Subwoofer. But I also use a pair of Genelec 1029A’s and various consumer speakers when I’m mixing down. H – Mbox Mini and my Mac Pro from 2007, Plus a Novation Impulse keyboard. My dope Mackie HR824’s help to round out the studio.

What software are you using?

H – We are both on Pro Tools software with numerous plug-ins for synths and also compression, EQ and mastering tools. What we have chosen is what keeps our sound up there with the best. Unfortunately, a lot of this software and plugs are rather expensive, however we feel the money spent on studio gear always equates to a quality product when produced by professionals.

What is your favorite or most essential piece in your studio?

Y - Definitely the D-Box Summing Mixer. I was monitoring through the analog outs of the Digi002 for years. Then once I switched to monitoring through the digital out of the Digi002 through the D-Box D/A, my mix downs came to life. Along with the jump to class-a summing it’s given us a big desk sound with the efficiency and recallable mix from working in the box.

What would be your dream setup?

H – My dream set up would basically just involve a big open studio with loads of outboard synths to flick through sounds and patch them back into my rig. At the moment it’s all software for my studio, and I would love to expand to a private space where I can indulge in building my stock of sound banks!

Can you describe your creative process? Is there a particular routine or schedule you stick to?

H – We generally start tunes together with some basic loops and musical ideas put down by Yogi. Then I’ll take them away and work on the form of the song, adding loops, drums, and more instruments to create a track that closer resembles a finished piece. Then it’s back to Yogi’s to tie up any loose ends musically and then he mixes the tracks and cleans up all the levels and processing. This system seems to keep the workflow going pretty well for us and usually means we can pump things out in a shorter period of time and also have a few projects on the go.

Where do you shop for and discover music?

Y - Traxsource, Beatport & Stompy mainly. But also iTunes and CD stores. H – My main shopping sites are Traxsource, Beatport, Stompy and Juno Download. I also enjoy hitting record stores when traveling, however that is usually for records to listen to more than play these days.

Any highlights from your latest musical discoveries?

H – The last Commodores album I bought was dope. And an old Evelyn ‘Champagne’ King LP. Y - I am thoroughly enjoying the latest Kimbra album. Along with the latest from Frank Ocean and John Mayer.

What's brewing in your studio?

Y - At the moment it is just preparing the next lot of singles from our debut album, "Live For The Moment", final mix downs and mastering. So coming out straight after WMC is our jam with Joshua Heath called “Time To Funk”. Remixes from Jay Vegas, Joshua Heath and ourselves.

Any production tips & tricks you'd like to share?

Y - Listen, have fun, experiment and explore your music.]]>